A. Andreas, given name Andreas Maria Jacobs (NL 1956) is an artist, writer and editor, studied physics and mathematics at the University of Amsterdam NL, electronic and computer music at the State University Utrecht NL and holds a BSc. in software engineering, University of Applied Sciences - The Hague NL.

He is publisher/editor of Nictoglobe magazine, ISSN 1874-9534, online since 1986!.

An irregular contributor to Poetry Kessel-Lo Belgium, Theory and Wryting, Netbehaviour and more mailinglists.

A. Andreas is currently working as a free-lanced software engineer. He lives in Amsterdam, the Netherlands and Walkenried, Germany with Judith V. and their 3 children. More of their work can be found at Nictoglobe.

The time for art has come to denounce its bond with society and to reflect on art itself.

Art has come a long way from the its middle aged allegations with religions institutions, and regaining some of its magic and ritual origins , during the Renaissance.

During the Enlightment its bond went alongside with the development of early capitalism and thes bond is pronounced until to date

As a consequence of the parallel development of capitalism and the socialication of art, art looses its fundaments with its ritual and magical origins.

During that process, in which as a side effect capitalism got rid of magic and ritual by classifying it under religion, art was put at the side of governing power, and agresively untied.

Nowadays artists are not able to distibguish between the aesthecial and ethical responsibilities the crafting of a work of art implies, and ignorantly think and behave as if they are not the governers of these responsablities.

The aesthetical and the ethical is taken over by social institutions , governments, administrations and the like.

The autonomous position it should have is ignorantly left behind ans easely sold for beauty and lust.

The word holy has no meaning anymore, rationalzing , researches the effects of city regeneartion,. researching culture as another form of commodity, sell, profibility, return on investment have replaced this.

The only creative attitude opossible is a copmplete rejection of every connection with society, when society is unbale to govern aeasthetical and ethical values. Then it is time to protect yourselves.

This time has come. The tine to completely untie every bond with society for art saek. No more falsifying reality views no more hypes no more social software no more web 2,0 noi more creativee ciries no more second life no mote mtv no more glasow no more docklands m=no more art councils no more medi lbs no me=ore citizens participations no morte

It is the return of the Holy Horsemen , the return of the shingn lights , the sparkling star the wet meadows, the dirty feet, the dirty hands, the smell, the rotten fleshm the darrk cornerts, the inappropiate behavgiuors, the subversions, the strewm of consciuopsnes/

The manifeswt the stutter the incomplete the half build thje imperfections, the abnortmal the lunatics the insane , the wise , th eholy, the readers, the seeers the dooers,, the hearese.

on 06:28 (local time) you send a message to me and rhizome discussion groupon 07:40 (local time) you send a message to me, lee wells and rhizome discussion group

on 06:53 (local time) anna paola (you disguised as?) sent a message with about the same content to netbehaviour list

all messages were having more or less the same content, of which I do not understand much of what you are trying to express, apart from it that it appears that you like to react on everything.

Also , when you are replying both to me and to rhizome discussion , it is no more than logical that I will receive the messages twice: first as adressee and the other as member of rhizome.

That makes FIVE messages with more or less the same , for me incomprehensible, content.

I politely ask you to refrain from this habit, taking my explanation in consideration.

AA

On Dec 20, 2007, at 11:25 PM, nanny kitachen wrote:

> i am not repeating> i dont know. i just sent to two different group. i didn't> recognize(know) it was repeating>>> 2007/12/20, A. Andreas <ajaco@xs4all.nl>:>> why are you repeating yourself?>> will you please stop doing that?>>>> AA>>>> On Dec 20, 2007, at 7:40 PM, nannykitachen wrote:>>>>> also, ugly lie gossip as someone as me had turned to woman when>>> child...>>> is there anybody else there who can claim i am coming from another>>> galaxy with transvestites? or is there anybody who can claim to>>> see me in Mars closing my head by scarf?>>>>>> make no media in party squares... creative insurgency!>>>>>>> -- > nanny kitachen a theory?>> AUDİO-VISUAL RESEARCHER>>> Researcher>>

Contrary to creative resistance, creative insurgency, aims to overthrown and re-establish a new kind of creative order, in which the might and prowess of the mainstream art world is definitively pushed aside to make place for a more profound and human based faculty of sharing and re-distributing objects of art and devotion.

Creative insurgency re-claims art's own, autonomous right to resist and subvert society's (mis) use of its idiomatic resources. Claims currently made by designers, merchants, industrialists and the like.

One of the key debates among art officials, (inter)national cultural experts and scholars concerns changes underway in the nature of insurgency. "Classic" insurgencies sought to seize power and evolved from underground and guerrilla forces. Contemporary insurgencies are characterized by linkage to broader systemic conflicts or failures normally involving networks as well as insurgents; by their use of the Internet and other forms of information technology; by the need to generate their own financial resources rather than relying on external sponsors; and by the desire to create political "space" in which to operate rather than the seizure of cultural power.

Cultural forces are still struggling to understand contemporary insurgencies and find ways to counter them. This is a common pattern since insurgencies often take the form of "learning contests" between insurgents and counterinsurgents.

Purposely taken the army as a metonym for the strategic and longtem vision on how to achieve a given goal .i.e. to maintain or to surplant a wanted regime, by the use of power, creative insurgency uses in parallel the same theoretical foundations to achieve their goals. i,e. the liberation of art from capital.

Also in complete analogy with the army creative insurgency uses massive global propaganda means to find sufficient mass for its accomplishes. The widespread use of Internet, mailing lists, do it yourself activities arise worldwide producing a critical body of strongly motivated artists.

Modern life appears as a drowning man filming itself in its dead struggle, the sight of a drowning man filming his own drowning in a world which as a whole is drowning is extremely absurd, there are no spectators to watch left. It is as if the act of filming replaces life itself . The residual of life is more life than life itself . This scenery is really a last station, the complete artistically epigraphical swan song of mankind, filmed on a cell-phone by a drowning man.

The act of seeing (active) gradually changing in the act of looking (passive) is exactly what modern global capitalism is doing with human mankind.. By replacing the means to create a life (rurality, agriculture, self protecting, autartic societies) with the means to earn a life( industries, labour, rent, mortgage, salary, funeral insurance) the accent slowly drifts from the active sense to the passive sense. Exemplified by the way internet developed from a research instrument to an entertainment device. In this process which lasted a surprisenly short tem of about ten years, the presence of the web turned from a small interesting peer to peer group to a huge beast of milleniary proportions. The monster as the natural compagnon of a gigantic destroyer. The spider's web is an-eying the world , the eye lost its vision and is multiplied inwardly on a enormous scale , blinded by its own image like the drowning men filming its own drowning in a drowning world.

We are being reduced to garbage, we are the waste of existence, we are the remnants of life zombificated by capitalistic power systems, which more and more getting their feet into cultural practices. We are the real living dead who ... are in all possible ways trying to die. And on our way feverelishy taken everyone with us. Every drop of life is vampirized by these machinery.

Media labs everywhere , digital culture studies at every university , call for art works , call for proposals, call for papers, call for citizen participations, all under the guiding eyes and financial protection of govermental and institutional supervision. Our eyes are subvisions , sub eyes, subordinated tentacles of the big tactic monster disguised under number of names as freemarket, nato, unesco, vn, gatt , g8, democracy, peoples republic, republic. Selling and marketing ideologies, goods, idead, opinions, academic curiiculli partaking in a rat race to compete , produce new, newer, hot hotter and even more sexier, erotic ways to seduce the few reluctant outsiders, to lost themselves in an overwhelming orgastic act of suicidal auto eroticism . Our senses a mere reciprocal facility of cooperative powers, disguised as democratic principles. Our bodies submerged in even more and more artificial pseudo-avataric states as Second Life, Sexual aid machineries penetrating our orifices with a 50 days guarantee. Man turning into women, women turning into men, gratuiteous interchanging freudian sexual role notions.

#New art works by Judith V.#Contributions to several poetry and wryting groups by A. Andreas#Essay about the former manifestations of gallery d+n+r, Amsterdam, 2003-2004#The return of the Holy Horsemen - Visual Confusions in the 21st century#Lectures on Art - Conversation with young New York , US based artists visiting Amsterdam#Comments about Creative Industries - On the role of moderating mailinglists, excerpts.#Towards a Radical Anti-Social Art - Statement